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As I did in 2017 and 2018, I celebrated Noirvember on Twitter by watching thirty films throughout the month, organized into twelve double features and two triple features. This post is simply to log my #Noirvember selections.

Double Bagged

Looking for a good noir double feature? It’s in the bag. But where’s the bag?

“Listen to me. The only thing to do is to go to the police. Tell them exactly how it happened.”
Lee Bowman to Louis Hayward in House by the River (1950)

“Get a hold of yourself, Jane, will you? It’s a bag of dynamite. That was a payoff. Probably blackmail… If we don’t report this, it’s a felony, the same as stealing it.”
Arthur Kennedy to Lizabeth Scott in Too Late for Tears (1949)

Double Up

If you want to travel vicariously up and over the hills of San Francisco, and then up and up again, look no further.

“I suppose you want to be untied.”
Lauren Bacall to Humphrey Bogart in Dark Passage (1947)

“I used to come here with my girl when I was a kid. It’s more frightening than romantic. It’s the way love is when you’re young… life is when you’re older.”
Dennis O’Keefe to Ann Sheridan in Woman on the Run (1950)

Double Chin

How can you tell the color of someone’s beard if everything is black and white? #ProTip: Be sure to check your fiancé’s chin or you may be forced to take it on your own.

“What are you going to do?”
“The only thing I can do.”
John Carradine to Jean Parker in Bluebeard (1944)

“I’m not even conscious until I’ve had three cups of coffee.”
Joan Bennett to Anne Revere in Secret Beyond the Door (1947)

Double Identity

To celebrate #FemaleFilmmakerFriday, I watched the first woman (as far as I know) to direct herself in a feature film, but it was the men in both who were leading double lives.

“I can’t figure out my feelings towards you. I despise you. And I pity you. I don’t even want to shake your hand, and yet… I almost wish you luck.”
Edmund Gwenn to Edmond O’Brien in The Bigamist (1953)

“If you haven’t got enough brains to agree with me, well, then, keep your mouth shut.”
Audrey Totter to Richard Basehart in Tension (1949)

Gothic Double

I wouldn’t gaslight you by pretending I hadn’t seen Gaslight, but I’ve long wanted to explore the Gothic world beyond it. #ProTip: Don’t show up to a gas light with an aquarium.

“Remember the lines? Life is short and the art is long. Decision difficult, experiment perilous.”
Paul Lukas to George Brent in Experiment Perilous (1944)

“She’s nice.”
“She’s lucky.”
“If you’re nice, you have to be lucky.”
“If you’re lucky, you can afford to be nice.”
Two wise wedding guests in The Locket (1946)

Triple Break Point

It’s tough to break out of prison. Not to mention confronting the age-old question “What do I do now?”

“Two years I let you alone. What do you want, Christmas every day? I let you alone because I didn’t need you. Now I do.”
Sterling Hayden to Gene Nelson in Crime Wave (1954)

“Don’t let that face of yours go to your head.”
“Or to yours?”
“Wouldn’t matter if it did. People who use pretty faces like you use yours don’t live very long anyway.”
Sheldon Leonard to Jean Gillie in Decoy (1946)

“I can’t take this money of yours. No, sir. In a way, I’m a thief just the same as you are. But I won’t sell you hope when there ain’t any.”
Ian Wolfe to Farley Granger in They Live by Night (1948)

Double Digits

It’s one thing to know how to handle a gun, but nothing beats a character whose fingers can tickle the ivories.

“So when this drunk handed me a ten-spot after a request, I couldn’t get very excited. What was it, I asked myself? A piece of paper crawling with germs. Couldn’t buy anything I wanted.”
Tom Neal as Al Roberts in Detour (1945)

“You know you’re quite an attractive man.”
“Keep going.”
“How far do you want me to go?”
“I’m at the plate. You’re doing the pitching.”
Kristine Miller to Burt Lancaster in I Walk Alone (1947)

Double Duty

When you’re an officer of the law, it can be tough to choose between doing your duty and Barbara Stanwyck. #ProTip: Choose Stanwyck or suffer the consequences.

“The game’s over. In my book, you wind up with enough chips. Now pick ’em up and go home.”
Raymond Burr to Barbara Stanwyck in Crime of Passion (1957)

“Is that what you want to do? Or is it that you just don’t want to listen to me?”
Barbara Stanwyck to Wendell Corey in The File on Thelma Jordan (1950)

Triple Sec

Sure it can get hot in the desert, but it’s a dry heat. Bone dry. Completamente seco. Archi-sec.

“I feel for you. But I’m consumed with apathy. Why should I mix in?”
Walter Brennan to Spencer Tracy in Bad Day at Black Rock (1954)

“You know, I’m very fond of chess. You can figure out how the other fellow thinks.”
Howard Da Silva to George Murphy in Border Incident (1949)

“Hot day isn’t it? You know, this is the road where those three people from Cedar Rapids died of thirst last year. Could I… uh… offer you a drink?”
Keith Andes to Jan Sterling in Split Second (1953)

Double Time

As I realized I had only five more days to watch ten more #Noirvember selections, it seemed only fitting I focus on films that are also very much concerned with time.

“There are 2,081,376,000 seconds in the average man’s life… each tick of the clock, the beat of a heart… and yet you sit here uselessly ticking your lives away because certain members of our conference are not on schedule.”
Charles Laughton in The Big Clock (1948)

“Sounds desperate… Who is it I have to kill?”
“Me.”
Paul Kirby to Dane Clark in Paid to Kill (aka Five Days) (1954)

Double Bind

They say blood is thicker than water, but what do you do when the family ties that bind are the ones dragging you under?

“What if there’s bad blood in me, Mose, that makes me do bad things?”
“I don’t know what you talking about… bad blood. Blood is red. It keeps you alive. It doesn’t tell you what you have to do.”
Dane Clark to Rex Ingram in Moonrise (1948)

“How can I protect her from the past when I can’t shut it out myself?”
Edward G. Robinson to Judith Anderson in The Red House (1947)

Double Down

If you are going to try and rob a casino, you better know when to double down and when to split.

“Do you mind my standing here?”
“I haven’t called for a guard, have I?”
Brian Keith to Jean Willes in 5 Against the House (1955)

“Did you ever notice pretty girls nowadays walk around with an angry look on their face all the time?”
Paul Henreid to Joan Bennett in The Scar (Hollow Triumph) (1948)

Double Trouble

Double rates for women and presidents, because they’re “always double-trouble”! #ProTip: Never believe those who say “it’s just business”—they’re probably contract killers.

“The only type of killing that’s safe is when a stranger kills a stranger. No motive. Nothing to link the victim to the executioner… I look at it like a good business. The risk is high, but so is the profit.”
Vince Edwards in Murder by Contract (1958)

“The thing about killing him or you or her or him is that I wouldn’t be getting paid for it and I don’t like giving anything away for free.”
Frank Sinatra in Suddenly (1954)

Double Major

I had to stay up a bit late to wrap up my traditional #Noirvember 30 by Thanksgiving, but I went out in a “big” way—with two major classics of the genre I hadn’t yet seen.

“I feel sorry for you, Joe. So I’m gonna do you a favor. You won’t hear the bullets.”
Richard Conte to Brian Donlevy in The Big Combo (1955)

“Listen, I knew you since you was a little kid. You was always a regular kind of crook. I never figured you for a louse.”
“Stop, you’re breaking my heart.”
“Even in our crummy kind of business you gotta draw the line somewheres.”
Thelma Ritter to Richard Widmark in Pickup on South Street (1953)

Filmography
Bluebeard (1944)
Experiment Perilous (1944)
Detour (1945)
Decoy (1946)
The Locket (1946)
Dark Passage (1947)
I Walk Alone (1947)
The Red House (1947)
The Big Clock (1948)
Hollow Triumph (The Scar) (1948)
Moonrise (1948)
Secret Beyond the Door (1948)
They Live by Night (1948)
Border Incident (1949)
Tension (1949)
Too Late for Tears (1949)
The File on Thelma Jordon (1950)
House by the River (1950)
Woman on the Run (1950)
The Bigamist (1953)
Pickup on South Street (1953)
Split Second (1953)
Crime Wave (1954)
Paid to Kill (Five Days) (1954)
Suddenly (1954)
Bad Day at Black Rock (1955)
The Big Combo (1955)
5 Against the House (1955)
Crime of Passion (1957)
Murder by Contract (1958)